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"Nixon's the One!" proclaimed his campaign paraphernalia. "Tricky Dick!" retorted his detractors. From presidential savior for conservative America to bte noire for the political Left, the Richard Nixon persona has worn many masks and labels. In fiction and poetry and pop songs, in television and film, no other national political figure has so thoroughly saturated our public consciousness with so many contrasting images. Focusing on the process of Nixon's continuous reinvention, Daniel Frick reveals a figure who continues to expose key fault lines in the nation's self-definition. Drawing on references ranging from All in the Family to Zappa and the Mothers of Invention, he shows how Nixon has become one of America's most durable and multifaceted icons in the ongoing and fierce debates over the import and meaning of the last sixty years of national life. Examining Nixon's autobiographies and political memorabilia, Frick offers far-reaching perceptions not only of the man but of Nixon's version of himself-contrasted with those who would interpret him differently. He cites reinventions of Nixon from the late 1980s, particularly the museum at the Richard Nixon Library and Birthplace, to demonstrate the resilience of certain national mythic narratives in the face of liberal critiques. And he recounts how celebrants at Nixon's state funeral, at which Bob Dole's eulogy depicted a God-fearing American hero, attempted to bury the sources of our divisions over him, rendering in some minds the judgment of "redeemed statesman" to erase his status as "disgraced president." With dozens of illustrations-Nixon posing with Elvis (the National Archives' most requested photo), Nixonian cultural artifacts, classic editorial cartoons—no other book collects in one place such varied images of Nixon from so many diverse media. These reinforce Frick's probing analysis to help us understand why we disagree about Nixon—and why it matters how we resolve our disagreements. Whether your image of Nixon is shaped by his autobiography Six Crises, Oliver Stone's surprisingly sympathetic film Nixon, John Adams's landmark opera Nixon in China, or by the saga of Watergate, Reinventing Richard Nixon expands on all perspectives. It shows how, through these contradictory mythic stories, we continue to reinvent, much like Nixon himself, our own sense of national identity.
In this exquisitely rendered memoir set on the high plains of Texas, Pulitzer Prize winner Gail Caldwell transforms into art what it is like to come of age in a particular time and place. A Strong West Wind begins in the 1950s in the wilds of the Texas Panhandle–a place of both boredom and beauty, its flat horizons broken only by oil derricks, grain elevators, and church steeples. Its story belongs to a girl who grew up surrounded by dust storms and cattle ranches and summer lightning, who took refuge from the vastness of the land and the ever-present wind by retreating into books. What she found there, from renegade women to men who lit out for the territory, turned out to offer a blueprint for her own future. Caldwell would grow up to become a writer, but first she would have to fall in love with a man who was every mother’s nightmare, live through the anguish and fire of the Vietnam years, and defy the father she adored, who had served as a master sergeant in the Second World War. A Strong West Wind is a memoir of culture and history–of fathers and daughters, of two world wars and the passionate rebellions of the sixties. But it is also about the mythology of place and the evolution of a sensibility: about how literature can shape and even anticipate a life. Caldwell possesses the extraordinary ability to illuminate the desires, stories, and lives of ordinary people. Written with humanity, urgency, and beautiful restraint, A Strong West Wind is a magical and unforgettable book, destined to become an American classic.
From 1948 (when he first wrote to Evelyn Waugh, who was editing The Seven Storey Mountain for publication in England) until his death in 1968, Thomas Merton corresponded with writers around the world, developing an ever-widening circle of friends in Europe, the Soviet Union, South and North America. Merton wrote, and heard from, many prominent writers of the stature of Waugh, Jacques Maritain, Czeslaw Milosz, Boris Pasternak, James Baldwin, Walker Percy, Henry Miller, and Victoria Ocampo. He also corresponded with and encouraged newer writers in Latin America, like Ernesto Cardenal. Merton sensed in these writers a hope for the future of humanity and believed that the courage for truth was their special gift. Writing to Jose Coronel Urtecho, Merton asserted that poets "remain almost the only ones who have anything to say . . . They have the courage to disbelieve what is shouted with the greatest amount of noise from every loudspeaker". Courage rooted in true freedom is evident in Merton's own life. He shared with his literary friends his concerns about war, violence and repression, racism and injustice, and all forms of human aggression. Forbidden to publish on the subject of war by his superiors, he obeyed but continued to circulate his famous "Cold War Letters". He did not hesitate to criticize his church when he saw there was more concern for the institutional structure than there was for people. Merton especially admired those who had the courage to write under oppression, like Pasternak, Milosz, and Cardenal.
An extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century. Two of the most recognizable images of twentieth-century art are Pablo Picasso’s “Guernica” and the rather modest mass-produced poster by an unassuming illustrator, Lorraine Schneider “War is Not Healthy for Children and Other Living Things.” From Picasso’s masterpiece to a humble piece of poster art, artists have used their talents to express dissent and to protest against injustice and immorality. As the face of many political movements, posters are essential for fueling recruitment, spreading propaganda, and sustaining morale. Disseminated by governments, political parties, labor unions and other organizations, political posters transcend time and span the entire spectrum of political affiliations and philosophies. Drawing on the celebrated collection in the Tamiment Library’s Poster and Broadside Collection at New York University, Ralph Young has compiled an extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century: labor, civil rights, the Vietnam War, LGBT rights, feminism and other minority rights. Make Art Not War can be enjoyed on aesthetic grounds alone, and also offers fascinating and revealing insights into twentieth century cultural, social and political history.
The fundamental argument this book is, first, that Richard Nixon, though not generally regarded as a charismatic or emotionally outgoing politician like Franklin Roosevelt or Ronald Reagan, did establish profound psychic connections with the American people, connections that can be detected both in the brilliant electoral success that he enjoyed for most of his career and in his ultimate defeat during the Watergate scandal; and, second and even more important, that these connections are symptomatic of many of the most important currents in American life. The book is not just a work of political history or political biography but a study of cultural power: that is, a study in the ways that culture shapes our politics and frames our sense of possibilities and values. In its application of Marxist, psychoanalytic, and other theoretical tools to the study of American electoral politics, and in a way designed for the general as well as for the academic reader, it is a new kind of book.
The Beats. a title that Jack Kerouac coined to define the exhausted exaltation of a generation, produced a body of works infected with a new energy. Their spontaneous, often-unedited style epitomised their own era and their famed close-knit literary community continues to inspire writers today. Barry Miles, friend and biographerof Allen Ginsberg, William Burroughs and Jack Kerouac, was there , part of the Beat Vibe. here he gathers together some of the most influential as well as the most overlooked writers of the era. He covers the writings from The Original Beats (New York 1944-53): The San Francisco Scene (1954-57) and The Second Wave (New York 1958-60) including works from Gregory Corso, John Clellon Holmes, Lawrence Ferlinghetti, Frank O'Hara, Diane di Prima and Alexander Trocchi to the king of the Beats Himself, Jack Kerouac. The result is a fascinating compendium that recaptures the unique but varied voices of the Beat generation..
With the sweep of an epic novel, Michael Schumacher tells the story of Allen Ginsberg and his times, with fascinating portraits of Jack Kerouac, Neal Cassady, and William Burroughs, among others, along with many rarely seen photographs.